BUFFALO  FINE  ARTS  ACADEMY 
ALBRIGHT  ART  GALLERY 


CATALOGUE 

OF  A 

COLLECTION  OF  DRAWINGS 

BY 

AUBREY  VINCENT  BEARDSLEY 


INTRODUCTION  BY 

MARTIN  BIRNBAUM 


"iVe  Jupiter  quidem 
omnibus  placet.''' 


JANUARY  IsT-JANUARY  31st 
96-1912-1 


ADDITIONS  AND  ERRATA 

Loaned  by  ALBERT  GALLATIN,  ESQ.,  New  York  City. 

88.  ''The  Rape  of  the  Lock." 

Loaned  by  MISS  FRANCES  DELAHANTY,  New  York 
City. 

89.  "Vignette,"  for  La  Morte  d Arthur. 

90.  91,  92,  93,  94  and  95. 

Drawings  illustrating  Theophile  Gautier's  "Romance  of 
Mademoiselle  de  Maupin." 
(Reproductions  limited  to  50  copies  each.) 
96.  Poster  for  the  "Savoy." 

27,  28  and  29  are  not  on  exhibition. 


Digitized  by  the  Internet  Archive 
in  2014 


https://archive.org/details/catalogueofcolleOObear 


AUBREY  VINCENT  BEARDSLEY 


From  a  hitherto  unpublished  photograph,  owned  by 
A.  E.  Gallatin,  Ksqr. 


AUBREY  VINCENT  BEARDSLEY 


The  main  facts  of  Beardsley's  outwardly  un- 
eventful life  can  be  given  in  a  few  words.  He 
was  born  at  Brighton  on  August  21,  1872,  three 
days  before  the  birth  of  that  other  inimitable 
artist.  Max  Beerbohm.  We  have  no  particu- 
larly interesting  facts  about  his  parents  or  an- 
cestry, but  all  his  critics  mention  his  surviving 
sister  Mabel,  the  English  actress,  who  was  a 
rarely  sympathetic  and  helpful  comrade. 
When  he  was  still  a  very  young  child,  symp- 
toms of  tuberculosis,  and  a  genius  which  over- 
flowed into  many  fields  of  artistic  endeavor, 
appeared  simultaneously.  In  1883  he  was 
giving  concerts  with  his  sister  in  London. 
Shortly  afterwards  we  hear  of  him  read- 
ing omnivorously,  starting  a  history  of  the 
Armada,  drawing  clever  caricatures  of  his  mas- 
ters at  Brighton  Grammar  School,  taking  part 
in  theatricals,  drawing  his  first  published 
sketches,  and  writing  a  farce  which  enjoyed 
the  serious  critical  attention  of  the  town  where 
it  was  performed.  He  left  school  in  1888  and 
worked  successively  in  an  architect's  studio 

3 


and  an  insurance  office.  Although  many  pic- 
tures of  an  earlier  date  exist,  his  career  as  a 
professional  graphic  artist  may  be  said  to  have 
begun  in  1893,  with  the  publication  of  Sir 
Thomas  Malory's  "Le  Morte  d'Arthur,"  by  J.  M. 
Dent  &  Company.  In  April  of  that  year  Joseph 
Pennell,  the  well-known  American  etcher,  in- 
troduced the  new  illustrator  in  the  first  number 
of  "The  Studio."  From  that  time  forward  the 
story  of  his  life  is  an  inspiring  and  painful 
journal  of  a  dying  genius,  working  feverishly 
and  searching  in  vain  for  a  climate  which 
would  give  him  the  strength  necessary  to  com- 
plete his  work.  He  died  at  Mentone  on  March 
16,  1898,  in  the  twenty-sixth  year  of  his  life, 
after  having  been  received  into  the  Catholic 
Church. 

Beardsley  was  the  most  eminent  of  a  group 
of  men  who  died  while  still  very  young,  but 
who  lived  long  enough  to  accomplish  success- 
fully something  original  and  important  in  art 
or  literature.  They  were  all  constantly  asso- 
ciated with  one  another  in  their  lives  and  work. 
Here  we  need  only  mention  Ernest  Dowson, 
for  whose  precious  volumes  of  verse  Beardsley 
made  some  of  his  happiest  decorations;  Charles 
Conder,  the  English  Watteau,  a  romantic 
painter  whose  fans  and  paintings  on  silk  are 
among  the  most  exquisite  works  of  art  ever 

4 


produced  by  an  Englishman;  Lionel  Johnson, 
a  genuine  poet  and  an  important  figure  in  the 
Celtic  movement,  of  which  William  Butler 
Yeats  is  now  the  acknowledged  leader;  Leonard 
Smithers,  their  irresponsible  publisher;  and 
our  own  Josiah  Flynt,  or  "Cigarette,"  as  the 
tramps  called  him,  who  met  the  Englishmen 
before  he  too  "passed  on  for  keeps,"  in  a  little 
back  room  in  the  Crown  Tavern,  near  Leicester 
Square, — "a  back  parlor  pushed  up  against  a 
bar."  The  grim,  tragic  pathos,  of  madness, 
drink,  and  disease  attaches  to  their  names.  Of 
them  all,  one  alone  died  with  a  jest  on  his  lips, 
and  Oscar  Wilde's  tragic  career  overshadows 
the  whole  period.  Fortunately,  we  still  have 
Arthur  Symons,  whose  sympathetic  apprecia- 
tions will  always  remain  the  starting-point  for 
all  future  studies  of  their  lives  and  achieve- 
ments; Will  Rothenstein,  the  distinguished 
painter,  who  began  his  career  by  making  the 
now  famous  series  of  portraits  in  lithography 
of  his  contemporaries;  and  "Max,"  their  in- 
comparable caricaturist,  who  will  remain  for- 
ever young  and  a  dandy. 

It  was  Beardsley's  ambition  to  be  grouped 
with  these  men,  not  only  as  an  artist,  but  as  a 
writer,  and  in  a  measure  he  succeeded.  To  be 
sure,  his  literary  efforts,  consisting  of  a  few 
poems  and  the  fragment  of  a  fantastic  rococo 

5 


romance,  fill  only  one  slender  volume;  but 
"Under  the  Hill,"  which  is  a  travesty  of  the 
Tannhauser  legend,  has  an  unique  flavor.  The 
hand  of  an  amateur  is  easily  detected  and  the 
work  is  obviously  influenced  by  the  eighteenth- 
century  Frenchmen,  but  you  feel,  as  in  the  case 
of  Whistler,  that  the  writer  was  prodigiously 
talented  and  that  he  was  on  the  threshold  of 
complete  mastery.  His  verses  are  highly  pol- 
ished and  his  prose  is  strange,  exotic,  and  arti- 
ficial. Its  bizarre  music  captivates  the  ear,  and 
it  may  be  said  to  appeal  even  to  the  eye,  in 
somewhat  the  same  way  as  his  designs.  It  is 
the  work  of  a  sick  prodigy  who  has  intuitively 
absorbed  all  the  secrets  of  French  eroticism 
and  is  laughing  at  the  shock  he  will  give  John 
Bull.  He  adored  the  art  and  literature  of 
France,  and  his  intimate  knowledge  of  French 
belles-lettres  amazed  all  his  friends.  Balzac 
was  a  great  passion  with  him,  and  the  works  of 
Baudelaire,  Verlaine,  Gautier,  and  Flaubert 
were  his  inspirations.  In  the  interesting  intro- 
duction to  the  French  edition  of  "Under  the 
Hill,"  Jacques  Blanche,  who  painted  his  por- 
trait, comments  on  Beardsley's  extraordinary 
and  intimate  knowledge  of  French  literature, 
and  adds,  "Ai-je  jamais  entendu  un  de  mes 
compatriotes  parler  de  Moliere  et  de  Racine 
comme  lui?  Racine  surtout,  qui  reste  ferme  a 

6 


la  plupart,  il  le  savait  par  coeur,  et  il  recitait 
les  choeurs  d'Athalie  et  d'Esther  comme  des 
prieres."  Beardsley's  romance,  however,  does 
not  breathe  the  spirit  of  the  great  dramatists. 
Its  extravagant  atmosphere  and  the  strange 
pageant  of  its  characters  can  best  be  suggested 
by  using  Beardsley's  own  grotesque  vocabu- 
lary: "Slim  children  in  masque  and  domino, 
smiling  horribly;  exquisite  letchers  leaning 
over  the  shoulders  of  smooth  doll-like  ladies, 
and  doing  nothing  particular;  terrible  little 
pierrots  posing  as  mulierasts,  or  pointing  at 
something  outside  the  picture;  and  unearthly 
fops  and  strange  women  mingling  in  some 
rococo  room  lighted  mysteriously  by  the  flicker 
of  a  dying  fire  that  throws  huge  shadows  upon 
wall  and  ceiling." 

Even  this  short  quotation  is  enough  to  show 
that  there  is  the  same  kind  of  fault  and  excel- 
lence in  his  designs  and  writings.  One  can  best 
describe  his  genius  as  maladif.  He  cultivated  a 
magical  technique  which  could  convert  the 
most  repulsive  ugliness  into  a  strange,  forbid- 
ding, fascinating  beauty.  Although  he  was  es- 
sentially a  great  satirist,  the  common  youthful 
error  of  starting  out  by  scandalizing  his  native 
land  tempted  him  to  commit  many  extrava- 
gances. It  is,  however,  not  our  province  to  find 
fault  with  him  for  having  chosen,  to  a  large 

7 


extent,  unsavory  and  unwholesome  material, 
instead  of  subjects  which  breathe  the  May-time 
fragrance  which  one  associates  with  Anglo- 
Saxon  art. 

His  designs  fall  naturally  into  certain 
groups.  Disregarding  his  first  efforts  as  an 
amateur,  the  first  period  extends  to  the  year 
1893,  when  "Le  Morte  d'Arthur"  and  three  vol- 
umes of  "Bon  Mots"  by  English  wits  appeared, 
and  the  editor  of  "The  Pall  Mall  Budget"  com- 
missioned him  to  draw  illustrations  of  con- 
temporary interest  for  that  magazine.  He  had 
already  been  encouraged  by  Puvis  de  Chavan- 
nes  and  Burne-Jones,  and  the  uncommonly 
appropriate  drawings  for  Malory's  romance 
were  strongly  influenced  by  the  work  of  the 
famous  Preraphaelite.  The  "Bon  Mot"  draw- 
ings bear  a  superficial  resemblance  to  second- 
rate  Japanese  prints.  The  following  year  the 
drawings  to  "Salome"  appeared,  and  a  few  dis- 
cerning critics  realized  that  Beardsley  had  be- 
come a  master  of  decorative  graphic  art.  To 
quote  from  the  excellent  monograph  by  Rob- 
ert Ross:  "Before  commencing  *Salome'  two 
events  contributed  to  give  Beardsley  a  fresh 
impetus  and  stimulate  his  method  of  expres- 
sion :  a  series  of  visits  to  the  collection  of  Greek 
vases  in  the  British  Museum  (prompted  by  an 
essay  of  Mr.  D.  S.  McColl)  and  to  the  famous 

8 


Peacock  Room  of  Mr.  Whistler  in  Prince's  Gate 
— one  the  antithesis  of  Japan,  the  other  of 
Burne-Jones."  No  designs  like  them  had  ever 
been  seen  before,  and  the  irritated  critics,  mys- 
tified by  genius,  ignored  his  marvelous  precise 
lines  and  decorative  qualities,  seized  upon  ana- 
tomical weaknesses  in  his  drawing  and  certain 
obviously  perverse  features,  and  condemned 
him  as  the  exponent  of  decadence.  The  attacks 
grew  more  virulent  when  the  first  volume  of 
"The  Yellow  Book"  appeared  in  April,  1894. 
Beardsley  had  already  done  other  work — 
chiefly  the  ingenious  title-pages  and  frontis- 
pieces for  the  "Keynote"  series — for  John 
Lane,  who  shares  the  credit  of  having  discov- 
ered and  encouraged  him.  "The  Yellow  Book" 
became  the  recognized  vehicle  for  publishing 
the  work  of  Beardsley,  its  art  editor.  In  its  first 
volumes  were  disclosed  many  new  phases  of 
his  powders,  his  devilish  wit,  his  peculiar  in- 
sidious grip  and  satirical  sting.  The  fury  of 
the  affronted  art  critics  was  followed  by  the 
rupture  with  John  Lane,  which  resulted  in  the 
publication  by  Leonard  Smithers,  in  1896,  of 
"The  Savoy,"  under  Arthur  Symons's  literary 
editorship.  In  the  same  year,  Smithers  brought 
out  what  are  considered  by  many  admirers 
Beardsley's  masterpieces, — the  exquisite  em- 
broideries for  Pope's  "Rape  of  the  Lock,"  and 

9 


the  extraordinary  drawings,  without  back- 
grounds, for  the  "Lysistrata"  of  Aristophanes. 
In  1897,  besides  executing  book-plates,  miscel- 
laneous drawings,  and  cover  designs, — notably 
the  superb  "Ali  Baba,"  and  the  lovely  lines 
which  adorn  Dowson's  verses, — he  illustrated 
the  last-mentioned  poet's  charming  pastoral, 
"The  Pierrot  of  the  Minute."  In  the  year  of  his 
death  there  appeared  a  portfolio  of  photo- 
gravure reproductions  of  his  bizarre  illustra- 
tions for  "Mademoiselle  de  Maupin,"  and  the 
beautiful  lead-pencil  designs  and  initials  for 
Ben  Jonson's  "Volpone,"  which  constituted  his 
last  works.  These  showed  unmistakable  signs 
of  possible  further  development,  concerning 
which,  however,  it  would  be  idle  to  speculate. 
In  examining  these  works  one  is  immediately 
impressed  by  the  great  variety  of  obvious  in- 
fluences which  dominated  him.  Whistler, 
Ricketts,  Mantegna,  Botticelli,  Eisen,  Walter 
Crane,  the  Japanese,  the  Silhouettists,  et  cetera, 
may  be  mentioned  at  random.  No  other  artist 
of  the  first  order  was  ever  so  receptive,  and 
none  ever  attached  himself  to  a  particular  tra- 
dition for  a  shorter  time.  He  had  hardly  suc- 
cumbed to  some  new  influence  before  it  became 
in  its  turn  a  mere  passing  phase  of  his  develop- 
ment. You  are  constantly  amazed  by  the  va- 
riety of  methods  used  by  him  during  the  same 

10 


period,  and  by  the  range  of  his  literary  sym- 
pathies. He  drew  his  inspiration  from  the  most 
varied  sources, — Pope,  Ben  Jonson,  and  Edgar 
Allan  Poe,  Juvenal,  Lucian,  and  Aristophanes, 
Gautier,  Dumas,  de  Laclos,  and  Balzac,  Wagner 
and  Chopin.  Now  and  then  he  introduced  por- 
traits or  caricatures  of  friends  and  acquain- 
tances into  his  drawings.  Wilde  and  Henry 
Harland  are  seen  in  the  frontispiece  to  John 
Davidson's  "Plays";  the  Latin  quarter  Pierrot 
holding  the  hour-glass  in  Dowson's  pastoral 
phantasy,  is  Charles  Conder;  Max  Beerbohm 
and  Whistler  appear  in  the  "Bon  Mot"  gro- 
tesques; Rejane's  mask  was  used  by  him  again 
and  again.  How  he  would  have  reveled  in  the 
sinuous  grace  and  Egyptian  attitudes  of  Ida 
Rubenstein,  the  young  Russian  dancer  who  in- 
spired D'Annunzio's  "Saint  Sebastian"! 

In  spite,  however,  of  Beardsley's  faculty  for 
assimilation,  and  the  fact  that  he  was  flattered 
and  annoyed  by  a  legion  of  imitators  and  forg- 
ers, his  work  can  rarely,  if  ever,  be  mistaken, 
unless  he  himself  chooses  mischievously  to 
deceive  you.  Degas,  in  an  unpublished  frag- 
ment by  Oscar  Wilde,  is  quoted  as  having  said: 
"II  y  a  quelque  chose  plus  terrible  encore  que  le 
bourgeois, — c'est  I'homme  qui  nous  singe."  No 
man  ever  suffered  more  at  the  hands  of  these 
apes  than  Beardsley,  but  he  remained  inimi- 

11 


table.  His  artistic  accent,  so  to  speak,  is  unmis- 
takably French,  but  it  is  an  error  to  compare 
his  work,  except  from  the  moral  point  of  view, 
with  that  of  men  like  Felicien  Rops  or  Tou- 
louse-Lautrec. Occasionally  these  men  evoke 
similar  emotions,  but  their  methods  are  quite 
different. 

Knowing  that  he  had  only  a  few  years  of 
work  before  him,  Beardsley  was  feverishly,  in- 
cessantly working,  and  produced  many  hun- 
dreds of  drawings  in  rapid  succession.  He  was 
socially  active,  too,  however,  and  loved  fine 
clothes  and  rare  clarets.  He  seemed  deter- 
mined to  live  his  short  life  gaily,  and  always 
had  time  for  his  friends,  because  he  worked 
chiefly  at  night,  by  the  light  of  those  long  can- 
dles which  he  repeatedly  introduced  into  his 
fantastic  designs.  His  life,  as  revealed  by  his 
associates  and  by  the  strange,  inconsequential 
letters  which  have  been  published,  reads,  in- 
deed, like  a  morbid  psychological  novel  by 
Arthur  Schnitzler.  The  coterie  of  people  who 
visited  him  in  the  somber  Cambridge  street 
studio,  furnished  in  black,  and  those  who  sur- 
rounded him  at  Dieppe,  have  only  the  kindest 
things  to  say  about  his  engaging,  persuasive 
personality  and  charming  presence,  and  main- 
tain that  his  pose  served  merely  to  hide  the 
deep  and  finely  serious  feelings  of  a  shy,  earnest 

12 


man.  Among  these  people,  besides  the  English 
"Savoy"  contributors,  were  the  genial  north- 
erner, Fritz  Thaulow,  with  his  blond  family, 
and  Jacques  Blanche,  who  has  written  interest- 
ing reminiscences  of  the  whole  colony.  Some 
friends,  on  the  other  hand,  have  said  that 
Beardsley  craved  for  the  sensational  celebrity 
of  a  professional  beauty.  To  achieve  such 
notoriety  he  was  guilty  of  impudent  conceits, 
artistic  indiscretions,  and  anachronisms,  like 
putting  Manon  Lescaut  and  Marquis  de  Sade  on 
Salome's  book-shelf.  At  any  rate,  whether 
these  statements  are  correct  or  not,  he  certainly 
enjoyed  a  reputation  wider  than  he  could  have 
expected.  He  became  the  storm-center  of  art 
criticism,  and  his  detractors  saw  impropriety 
lurking  in  every  stroke  of  his  pen.  This  ad- 
verse criticism  only  seemed  to  arouse  his  mor- 
bid gaiety.  When  his  editor  was  forced  to 
bowdlerize  a  drawing,  Beardsley  sent  proofs  of 
it  to  friends  and  wrote  on  the  margin : 

"Because  one  figure  was  undressed, 
This  little  drawing  was  suppressed. 

It  was  unkind, 

But  never  mind — 
Perhaps  it  all  was  for  the  best." 

Unfortunately,  he  regretted  these  boyish 
pranks  when  it  was  too  late,  and  what  may  per- 

13 


haps  rank  technically  as  the  culminating-point 
of  his  genius  can  never  be  publicly  shown.  He 
realized  this,  and  referred  to  the  drawing  in  the 
last  letter  to  his  publisher,  Leonard  Smithers, 
quoted  here  because  it  has  never  appeared  in  an 
English  book  before.  It  is  said  to  have  been 
written  at  the  Hotel  Cosmopolitain  on  March  7, 
1898,  and  is  the  most  painfully  serious  and 
pathetic  commentary  we  know  of,  on  the  dan- 
ger of  being  a  youthful  tragic-comedian. 

Mentone. 

Jesus  is  our  Lord  and  Judge. 
Dear  Friend  : 

I  implore  you  to  destroy  all  copies  of  "Lysistrata" 

and  bad  drawings.   Show  this  to  P  and  conjure 

him  to  do  same.  By  all  that  is  holy, — all  obscene 
drawings. 

Aubrey  Beardsley. 

In  my  death  agony. 

The  volume  from  which  this  is  taken  is  one 
of  the  artistic  publications  of  Hans  von  Weber 
of  Munich.  It  consists  of  a  collection  of  letters 
to  Smithers,  well  translated  into  German  by 
their  owner,  Fritz  Waerndorfer  of  Vienna,  who 
has  one  of  the  finest  existing  collections  of  ori- 
ginal Beardsleys.  It  must  not  be  conf  used  with 
the  English  letters  published  by  Longmans, 
Green  &  Co.  At  the  end  of  the  book  there  are  a 

14. 


few  notes — entries  on  the  leaves  of  a  pocket 
calendar  similar  to  the  note-book  owned  by 
Mr.  Henry  C.  Quinby — which  throw  a  valuable 
light  on  some  of  the  sources  of  Beardsley's  in- 
spiration and  the  way  in  which  he  worked.  It 
was  edited  by  Dr.  Franz  Blei,  who  introduced 
Beardsley  to  Germany  and  Austria,  where  his 
works  are  now  eagerly  sought  for  by  the  great- 
est museums.  Berlin  has  acquired  his  portrait 
of  Mrs.  Patrick  Campbell,  and  Vienna  owns  the 
drawing  for  "Lucian"  entitled  "The  Vintage." 
His  influence  is  gratefully  acknowledged  by 
such  prominent  continental  artists  as  the 
astoundingly  clever  Marcus  Behmer,  the  ver- 
satile Th.  Th.  Heine,  the  decorative  Franz  von 
Bayros,  and  any  number  of  lesser  men. 

The  fact  that  his  work  continues  to  retain  its 
stimulus  for  a  new  artistic  generation,  is  suffi- 
cient excuse  for  this  first  exhibition  in  Amer- 
ica. It  is  fortunate  that  it  could  be  arranged 
at  a  time  when  Beardsley  has  ceased  to  be  a 
fashionable  craze  or  a  topic  for  frivolous  con- 
versation. He  is  not  an  artist  whom  one 
can  amusingly  denounce  or  indiscriminately 
praise,  but  an  acknowledged  master  of  satire 
and  decorative  line,  who  taught  graphic  artists 
many  new  and  important  lessons,  and  prac- 
tically exhausted  the  resources  of  his  medium. 
He  is  an  artists'  artist,  and,  as  Mr.  Pennell 

15 


wrote,  "What  more  could  he  wish?"  Certain 
features  of  his  work  may  be  condemned  or  de- 
plored, but  he  certainly  cannot  be  ignored  by 
any  serious  student,  and  we  owe  a  debt  of  grati- 
tude to  the  men  and  women  who  have  made  it 
possible  to  give  this  exhibition,  and  to  Will 
Rothenstein  who  brought  the  greater  part  of  it 
from  England. 


16 


CATALOGUE 

OF  AN 

EXHIBITION  OF  ORIGINAL  DRAWINGS 

BY 

AUBREY  VINCENT  BEARDSLEY 

HELD  AT  THE 

BUFFALO  FINE  ARTS  ACADEMY 
ALBRIGHT  ART  GALLERY 
BUFFALO 

JANUARY  IST-JANUARY  31st 
1912 


CATALOGUE 


Loaned  by  MRS.  PAYNE  WHITNEY,  New  York  City. 

1.  Cover  Design  for  No.  4  of  "The  Savoy." 

2.  Vignette  for  "Le  Morte  d'Arthur." 

3.  Vignette  for  "Le  Morte  d'Arthur"  (p.  69). 

4.  "The  Dream,"  Frontispiece  for  "The  Rape  of  the 

Lock." 

Loaned  by  BART  ROBSON,  ESQ.,  London. 

5,  6.  Border  and  Figure  for  "Le  Morte  d'Arthur"  (pp.  155 
and  291). 

7,  8.  Border  and  Initial  for  "Le  Morte  d'Arthur"  (p.  724). 
9.  Decorative  Figure  for  "Le  Morte  d'Arthur"  (p.  761). 

10.  Decorative  Figure  for  "Le  Morte  d'Arthur"  (p.  438). 

Loaned  by  HENRY  C.  QUINBY,  ESQ.,  New  York  City. 

11.  Border  for  "Le  Morte  d'Arthur"  (p.  80). 

12.  Border  for  "Le  Morte  d'Arthur"  (p.  639). 

13.  Border  for  "Le  Morte  d'Arthur"  (p.  218). 

14.  Initial  Letter  with  guardian  griffins,  intended  for 

"Le  Morte  d'Arthur"  but  rejected  because  the  de- 
sign was  not  in  harmony  with  the  text.  Unpub- 
lished. 

15.  Grotesque  for  the  "Bon  Mot  Series"  (A  Muscular 

Man). 

16.  Grotesque  for  the  "Bon  Mot  Series." 

17.  Grotesque  for  the  "Bon  Mot  Series." 

19 


18.  A  nude  grotesque  figure  holding  a  flower.  Three 

butterflies  in  the  background.  Intended  for  the 
"Bon  Mot  Series"  but  never  published. 

19.  Grotesque  for  the  "Bon  Mot  Series." 

20.  Two  unpublished  pencil  sketches,  one  signed,  of 

women.   Taken  from  a  note-book. 

21.  A  note-book  (2%x3%  inches)  containing  several 

slight  sketches  in  ink  and  pencil.  Beardsley's 
signature,  Wilde's  caricature,  notes  for  some 
drawings,  etc.,  occur. 


Loaned  by  MARTIN  BIRNBAUM,  New  York  City. 

22.  Decorative  vignette  with  female  figure,  and  land- 

scape for  "Le  Morte  d'Arthur"  (p.  93). 

23.  Portrait,  in  pencil  and  pastel,  of  Aubrey  Beardsley. 

Dated  1894  and  signed  by  him.  [This  portrait, 
while  a  good  likeness,  is  almost  childish  in  its 
technique.  It  will  be  recalled,  however,  that 
Beardsley  not  infrequently  indulged  in  amateurish 
attempts.  This  portrait  was  bought  at  a  sale  held 
at  the  Merwin-Clayton  Sales  Company  several 
years  ago  and  it  was  "guaranteed."  Its  history 
and  past  ownership  were  refused.] 


Loaned  by  A.  E.  GALLATIN,  ESQ.,  New  York  City. 

24.  "How  Four  Queens  Found  Launcelot  Sleeping." 

From  "Le  Morte  d'Arthur." 

25.  "Sir  Launcelot  and  the  Witch  Hellawes."   From  "Le 

Morte  d'Arthur." 

26.  Decorative  Female  Figure  for  "Le  Morte  d'Arthur" 

(p.  215). 

27.  Unfinished  Border  intended  for  "Le  Morte  d'Arthur" 

but  not  used.  First  reproduced  in  Gallatin's 
"Whistler's  Art  Dicta  and  Other  Essays." 

28.  A  Small  Landscape  with  Buildings.    Contained  in  a 

letter. 

20 


29.  An  Architectural  Sketch:  Column  and  Building. 

Contained  in  a  letter. 

30.  Max  Alvary  as  "Tristan."   Pen  and  ink. 

31.  Frau  Klafsky  as  "Isolde."   Pen  and  ink  and  water- 

color. 

Loaned  by  FREDERICK  KEPPEL  &  CO.,  New  York. 

32.  "Die  Gotterdammerung."    India  ink  and  Chinese 

white.  Formerly  the  property  of  Robert  B.  Ross, 
Esq. 

Loaned  by  JOHN  LANE,  ESQ. 

33.  Arbuscula. 

34.  Head  with  Leaves  and  Berries. 

35.  Cover  of  "Yellow  Book." 

36.  Cover  for  "Yellow  Book." 

Drawings  for  "Salome." 

37.  Tail-piece  to  "Salome."    "For  sheer  drawing  noth- 

ing can  equal  the  nude  figure  in  the  colophon  to 
"Salome."— Robert  Ross. 

38.  The  Woman  in  the  Moon. 

39.  The  Eyes  of  Herod. 

40.  Title-page  for  "Salome." 

41.  The  Toilet  of  Salome. 

42.  The  Stomach  Dance. 

43.  Title-page  Ornament  for  the  "Yellow  Book." 

44.  A  Poster. 

45.  A  Poster. 

46.  Cover  design  for  "Poor  Folk." 

47.  Cover  design  for  the  second  volume  of  the  "Yellow 

Book." 

48.  Cover  design  for  the  third  volume  of  the  "Yellow 

Book." 

21 


49.  Cover  design  for  the  "Yellow  Book." 

50.  A  Nocturne  of  Chopin. 

51.  End  Papers  for  "Pierrot's  Library." 

52.  Design  for  "Pierrot's  Library." 

53.  Design  for  a  Book  Cover. 

54.  "Atalanta." 

55.  Frontispiece  for  "Earl  Lavender." 

56.  "Maitresse  d'Orchestre." 

57.  Title-page  for  "Keynotes." 

58-78  (incL).    Covers  and  title-pages  for  the  "Keynote 
Series." 

Loaned  by  FITZROY  CARRINGTON,  ESQ.,  New  York  City. 

79.  "Ali  Baba."   Cover  design  for  "The  Forty  Thieves." 

Printed  Posters. 
Loaned  by  HENRY  C.  QUINBY,  ESQ. 

80.  Colored  Poster. 

81.  Prospectus  for  "Volpone." 

82.  Poster  for  the  "Spinster's  Scrip"  as  compiled  by 

Cecil  Raynor.   Macmillan  &  Co. 

83.  Joan  of  Arc,  from  "The  Studio." 

Loaned  by  A.  E.  GALLATIN,  ESQ. 

84.  Programme  Cover  for  the  Avenue  Theatre. 

Loaned  by  FITZROY  CARRINGTON,  ESQ. 

85.  Venus  between  Terminal  Gods. 

Loaned  by  the  artist  WILL  ROTHENSTEIN. 

86.  Lithograph  Portrait  of  Aubrey  Beardsley. 

Loaned  by  WILBUR  UNDERWOOD,  ESQ. 

87.  Portrait  of  Aubrey  Beardsley  by  Will  Rothenstein. 


BIBLIOGRAPHY 


The  best  lists  of  drawings  by  Beardsley,  and 
of  books  by  and  about  him,  will  be  found  in  the 
two  following  works: 

Aubrey  Beardsley's  Drawings.  A  Catalogue  and  a 
List  of  Criticisms.  By  A.  E.  Gallatin,  1903.  New  York : 
Godfrey  A.  S.  Wieners,  "At  the  Sign  of  the  Lark." 
London :  Elkin  Mathews. 

Boards,  pp.  60.   250  copies  printed. 

Aubrey  Beardsley.  By  Robert  Ross.  With  sixteen 
full-page  illustrations  and  a  revised  Iconography  by 
Aymer  Vallanee.  London:  John  Lane,  The  Bodley 
Head.   New  York :  John  Lane  Company,  MCMIX. 

8vo,  cloth,  pp.  112. 

Beardsley's  most  important  works  are  repro- 
duced in  the  following  volumes,  and  the  more 
ambitious  criticisms,  including  some  books 
which  are  not  mentioned  in  the  above  lists,  are 
noted  below. 

A  book  of  Fifty  Drawings  by  Aubrey  Beardsley. 
With  an  Iconography  by  Aymer  Vallanee.  Leonard 
Smithers,  4  and  5  Royal  Arcade,  Old  Bond  Street, 
London,  W.,  1897. 

4to,  cloth,  pp.  212.  The  edition  was  500  copies  on  imita- 
tion Japanese  vellum  and  50  copies  on  imperial  Japanese 
vellum. 

23 


This  album  comprises  19  drawings  reprinted  from  "Le 
Morte  d'Arthur,"  drawings  from  "Salome,"  "The  Rape  of  the 
Lock,"  "The  Savoy,"  etc.  There  are  also  several  drawings 
published  for  the  first  time.  A  photograph  of  the  artist,  with 
his  autograph  in  facsimile,  forms  the  frontispiece. 

A  Second  Book  of  Fifty  Drawings  by  Aubrey 
Beardsley.  New  York :  John  Lane,  140  Fifth  Avenue, 
1899.  (With  short  prefatory  note  by  Leonard  Smith- 
ers,  who  pubHshed  the  book  in  London.) 

4to,  cloth,  pp.  213.  The  edition  was  1000  copies  on  plate 
paper  and  50  copies  on  imperial  Japanese  vellum,  bound  in 
vellum  gilt. 

This  album  comprises  a  selection  of  Beardsley's  work  and 
some  30  hitherto  unpublished  drawings.  The  latter  are  for 
the  most  part  early  sketches.  A  photograph  of  the  artist,  with 
his  autograph  in  facsimile,  forms  the  frontispiece. 

The  Early  Work  of  Aubrey  Beardsley.  With  a 
prefatory  note  by  H.  C.  Marillier.  John  Lane,  the 
Bodley  Head,  London  and  New  York.  (MDCGGXGIX.) 

4to,  buckram,  pp.  18  + 157.  Besides  the  regular  edition  on 
imitation  Japanese  vellum,  125  copies  were  printed  on  im- 
perial Japanese  vellum. 

This  album  includes  all  of  the  "Salome"  drawings,  all  of  the 
"Yellow  Book"  designs,  all  of  the  "Keynote  Series"  title-pages, 
16  of  the  drawings  published  in  the  "Pall  Mall  Budget,"  and 
various  other  drawings.  There  are  also  some  20  drawings 
published  for  the  first  time.  Two  photographs  of  Beardsley, 
by  Frederick  H.  Evans,  Esq.,  are  also  reproduced,  both  in 
photogravure  and  one  with  a  facsimile  autograph. 

The  Later  Work  of  Aubrey  Beardsley.  John  Lane, 
the  Bodley  Head,  London  and  New  York,  MDCCCGL 
(With  brief  note  by  John  Lane.) 

4to,  buckram,  pp.  173.  Besides  the  regular  edition  on  imi- 
tation Japanese  vellum,  125  copies  were  printed  with  the 
cover  design  in  gold,  the  frontispiece  (Mile,  de  Maupin)  hand- 
colored,  and  the  "Volpone"  drawings  in  photogravure. 

This  album  includes  all  the  "Mile,  de  Maupin,"  "Volpone," 
"Rape  of  the  Lock,"  and  "Savoy"  drawings  (excepting  "Con- 
tents" drawing  in  No.  1),  besides  19  drawings  from  "Le 

24 


Morte  d'Arthur"  and  a  selection  from  Beardsley's  other  work. 
There  are  also  about  15  hitherto  unpublished  drawings. 

The  Birth,  Life  and  Acts  of  King  Arthur,  of  his 
Noble  Knights  of  the  Round  Table,  their  marvellous 
Enquests  and  Adventures;  the  Achieving  of  the  San 
Greal  and,  in  the  end,  Le  Morte  d'Arthur,  with  the 
dolorous  Death  and  Departing  out  of  this  World  of 
them  all.  (Emblem.)  The  text  as  v^ritten  by  Sir 
Thomas  Malory  and  imprinted  by  William  Caxton  at 
Westminster  the  year  MCGCGLXXXV,  and  now  spelled 
in  modern  style,  with  an  introduction  by  Professor 
Rhys  and  embellished  with  many  original  designs 
by  Aubrey  Beardsley.  MDGCGXCIII.  [2d  Volume, 
MDCCGXGIV.] 

Buckram,  vellum  and  gold.  Vol.  I,  pp.  lxiv  +  455;  Vol.  II, 
pp.  xc  +  990. 

Scrap  Book. 

Containing  all  "Pall  Mall  Budget"  drawings.  Loaned  by 
Henry  C.  Quinby,  Esq.,  New  York. 

Bon  Mots:  Gharles  Lamb  and  Douglas  Jerrold; 
Sydney  Smith  and  R.  B.  Sheridan;  Samuel  Foote  and 
Theodore  Hook.  Grotesques  by  Aubrey  Beardsley. 

3  volumes,  24mo,  white  cloth,  gilt  tops.  London:  J.  M. 
Dent,  1893-4. 

The  Studio. 

Vol.  I,  No.  1.  Contains  "A  New  Illustrator:  Aubrey  Beards- 
ley," by  Joseph  Pennell. 

The  Studio. 

No.  62.  Contains  "Aubrey  Beardsley:  In  Memoriam,"  by 
Gleeson  White. 

Portfolio  of  Twenty  Miniature  Posters.  Drawn  by 
Aubrey  Beardsley. 

Representing  the  title  designs  of  the  "Keynote  Series." 
Roberts  Brothers,  Publishers,  Boston. 

25 


The  Wonderful  History  of  Virgilius,  the  Sorcerer 
of  Rome,  as  told  by  Men  of  High  Germany,  together 
with  many  Rimes  made  by  Men  of  France  and  Italy, 
now  first  put  into  the  English  tongue. 

Crown  8vo,  with  original  frontispiece  by  Aubrey  Beardsley 
on  China  paper.    Wrapper.  1893. 

Poor  Folk.  Translated  from  the  Russian  of  F. 
Dostoievsky  by  Lena  Milman.  With  an  Introduction 
by  George  Moore.  London :  Elkin  Mathews  and  John 
Lane.  Roberts  Brothers,  Boston,  1894.  Illustration  by 
Beardsley  on  title-page. 

Svo,  cloth,  pp.  XXX  +  191. 

The  Yellow  Book:  An  Illustrated  Quarterly.  Lon- 
don: John  Lane.   Boston:  Copeland  &  Day. 

4to,  cloth,  13  vols.   April,  1894,  to  April,  1897,  inclusive. 

Salome.  A  Tragedy  in  one  act.  Translated  from 
the  French  of  Oscar  Wilde. 

With  frontispiece,  ornamental  title-page,  and  table  of  illus- 
trations; 10  full-page  illustrations  and  the  powder-puff  tail- 
piece, after  the  designs  of  Aubrey  Beardsley.  Pages  xii  +  67, 
8vo,  blue  buckram,  with  design  in  gold.  London:  Elkin 
Mathews  and  John  Lane,  1894. 

A  Portfolio  of  Drawings,  illustrating  Salome,  by 
Oscar  Wilde. 

Folio,  IS^XlOVo  inches.  17  designs  of  the  late  Aubrey 
Beardsley,  reproduced  for  the  first  time,  the  actual  size  of  the 
originals,  viz.,  9x6%  inches,  and  printed  upon  Japanese  vel- 
lum. 

Lucian's  True  History.  Translated  by  Francis 
Hicks.  Illustrated  by  William  Strang,  J.  B.  Clark,  and 
Aubrey  Beardsley. 

Small  4to,  buckram.  London:  Privately  printed,  1894. 
Japanese  vellum  paper;  only  54  copies  printed. 

26 


Portfolio  of  Drawings  to  illustrate  the  Tales  of 
Edgar  Allan  Poe. 

With  a  portrait  of  the  artist.  The  Colonial  Company,  Lim- 
ited, New  York  and  Pittsburgh. 

Plays  by  John  Davidson.  Being  an  Unhistorical 
Pastoral,  a  Romantic  Farce,  Bruce,  a  Chronicle  Play, 
Smith,  a  Tragic  Farce,  and  Scaramouch  in  Naxos,  a 
pantomime. 

Vignette  title  and  grotesque  frontispiece  by  Beardsley. 
8vo,  buckram.   Elkin  Mathews,  1894.   Edition  of  500  copies. 

A  full  and  true  Account  of  the  wonderful  Mission  of 
Earl  Lavender  which  lasted  one  night  and  one  day. 

First  edition,  original  cloth,  frontispiece  by  Beardsley. 
1895. 

Walt  Ruding.    An  Evil  Motherhood.    An  impres- 
sionist novel.   Frontispiece  by  Beardsley. 
Crown  8vo,  cloth.   London,  1896.    First  edition. 

Book  of  Bargains.  Stories  of  the  Weird  and  Won- 
derful. By  Vincent  O'Sullivan.  Frontispiece  by 
Beardsley. 

Post  8vo,  buckram,  1896. 

Verses  by  Ernest  Dowson.  Leonard  Smithers, 
Arundel  Street,  Strand,  London,  W.C.,  MDGGCXCVL 

Vellum,  pp.  57.  Cover  design  by  Aubrey  Beardsley.  300 
copies  on  hand-made  paper.  Autograph  letter  of  Dowson  in- 
serted. 

The  Parade,  an  Illustrated  Gift-book  for  Boys  and 
Girls. 

4to,  cloth,  1897.  Contributions  by  Max  Beerbohm,  R.  Le 
Gallienne,  Laurence  Housman,  Barry  Pain,  and  others;  illus- 
trated by  Beardsley,  Max  Beerbohm,  L.  Housman,  and  others. 

Dowson  (Ernest).    The  Pierrot  of  the  Minute,  a 

27 


Dramatic  Phantasy.  Illustrated  with  a  frontispiece, 
cover  design,  initial  letter,  vignette,  etc.,  by  Aubrey 
Beardsley. 

4to,  vellum  gilt,  1897.  The  Henry  W.  Poor  copy,  with  his 
book-plate.  A  fine  letter  by  Dowson,  mentioning  various 
works  and  telling  of  his  starving  condition,  is  inserted. 

The  Savoy.  A  Periodical  of  Art  and  Literature. 
Edited  by  Arthur  Symons.  With  contributions  by  G. 
Bernard  Shaw,  Arthur  Symons,  W.  B.  Yeats,  Aubrey 
Beardsley,  Joseph  Conrad,  Ernest  Dowson,  and  others. 
Illustrated  profusely  by  Aubrey  Beardsley,  with  addi- 
tional drawings  after  Whistler,  Blake,  C.  H.  Shannon, 
W.  Rothenstein,  and  caricatures  by  Max  Beerbohm. 

3  vols.,  4to,  purple  cloth,  with  cover  design  in  gold  by 
Beardsley.  London:  Leonard  Smithers.  January-December, 
1896. 

The  Rape  of  the  Lock.  An  Heroi-Comical  Poem  in 
Five  Cantos.  Written  by  Alexander  Pope.  Embroi- 
dered with  nine  drawings  by  Aubrey  Beardsley.  Lon- 
don: Leonard  Smithers,  Arundel  Street,  MDCCCXGVI. 

Cloth,  pp.  47. 

Portfolio  of  an  Issue  of  Five  Drawings  illustrative 
of  Juvenal  and  Lucian.  1906. 

Lysistrata  of  Aristophanes. 

Privately  printed  for  Leonard  Smithers,  London,  1896. 

Ben  Jonson:  his  Volpone;  or.  The  Foxe.  With 
frontispiece,  initials,  and  cover  designs  by  Aubrey 
Beardsley. 

4to,  cloth,  gilt.   New  York,  1898. 


Six  Designs  for  Gautier's  "Mademoiselle  de  Mau- 

28 


pin,"  in  pen  and  ink  and  wash,  printed  in  photogra- 
vure and  inclosed  in  a  portfoHo. 
Printed  on  plate  paper,  1898. 

Under  the  Hill,  and  other  Essays  in  Prose  and 
Verse,  by  Aubrey  Beardsley,  with  illustrations.  John 
Lane,  publisher,  the  Bodley  Head,  London  and  New 
York,  MDCCCGIV. 

Cloth,  pp.  xi  +  70. 

Sous  la  Colline,  et  d'Autres  Essais  en  Prose  et  en 
Vers,  par  Aubrey  Beardsley.  Precede  d'une  Preface 
par  Jacques  E.  Blanche.  Traduction  Frangaise  de  A.-H. 
Cornette.  Paris :  H.  Floury,  Editeur,  1  Boulevard  des 
Capucines,  1908. 

8vo,  boards,  pp.  129. 

The  Story  of  Venus  and  Tannhauser.  A  Romantic 
Novel  by  Aubrey  Beardsley.  Privately  printed.  Lon- 
don, MCMVII. 

156  of  250  copies  printed  on  hand-made  paper. 

Die  Geschichte  von  Venus  und  Tannhauser.  Eine 
Romantische  Novelle  von  Aubrey  Beardsley. 

No.  109  of  246  subscribed  copies.  A  superb  example  of 
modern  bookmaking  and  intarsia  binding  in  full  parchment. 

Last  Letters  of  A.  Beardsley.  With  an  introductory 
note  by  the  Rev.  John  Gray. 

8vo,  boards,  gilt  top,  with  outside  wrapper.  First  edition. 
London:  Longmans,  Green  &  Co.,  1904. 

Briefe,  Kalendernotizen,  und  die  Vier  Zeichnungen 
zu  E.  A.  Poe  von  Aubrey  Beardsley.  Hans  von  Weber. 
Verlag,  Miinchen,  1908. 

8vo,  boards,  pp.  186.   No.  293  of  525  copies. 

29 


Aubrey  Beardsley.  By  Arthur  Symons.  London: 
"At  the  Sign  of  the  Unicorn,"  1898. 

4to,  cloth  and  boards,  uncut.  Clyde  Fitch's  copy,  with  his 
book-plate. 

New  Edition  of  above,  revised  and  enlarged.  Lon- 
don: J.  M.  Dent  &  Co.,  1905. 

4to,  boards,  pp.  103. 

Prinz  Hypolit  und  andere  Essays.  By  Franz  Blei. 
Leipzig,  Insel,  Verlag,  1903. 

Aubrey  Beardsley.  By  Budolf  Klein.  Berlin :  Julius 
Bard  (1903). 

Aubrey  Beardsley.  Von  Hermann  Esswein.  Port- 
folio. 

4to,  boards,  Miinchen,  n.  d. 

Whistler's  Art  Dicta  and  Other  Essays.  By  A.  E.  G. 

12mo,  marbled  boards,  cloth  back.  Boston:  The  Merry- 
mount  Press,  for  Charles  E.  Goodspeed,  1904.  This  contains 
a  number  of  interesting  essays  on  Whistler  and  Beardsley, 
with  3  facsimile  letters,  afterwards  suppressed. 

Aubrey  Beardsley.  By  A.  E.  Gallatin.  List  of 
Drawings  by  Aubrey  Beardsley. 

8vo,  boards.  New  York,  1900.  100  copies,  privately 
printed. 

Aubrev  Beardsley  as  a  Designer  of  Book-plates.  By 
A.  E.  Gallatin.  London:  Elkin  Mathews,  MDCCCCIL 
Boston :  Charles  E.  Peabody  &  Co. 

Boards,  pp.  11.   Eighty-five  copies  printed. 
Volume  containing: 

Aubrey  Beardsley.  By  Henry  M.  Strong.  From  "The  West- 
minster Review,"  July,  i900. 

30 


Mr.  Aubrey  Beardsley  and  his  Work.  By  Arthur  H.  Law- 
rence.   From  "The  Idler,"  March,  1897. 

Aubrey  Beardsley.  By  Max  Beerbohm.  From  "The  Idler," 
May,  1898. 

(Courtesy  of  A.  E.  Gallatin,  Esq.) 
Volume  containing: 

Aubrey  Beardsley.  By  G.  M.  R.  Twose.  From  "The  Dial," 
June  16,  1899. 

Aubrey  Vincent  Beardsley.  Von  Otto  Eckmann.  From 
"Die  Zukunft,"  July  1,  1899. 

Aubrey  Vincent  Beardsley.  Par  Henry  D.  Davray.  From 
"La  Plume,"  July  15,  1899. 

Aubrey  Beardsley.  By  Emil  Hannover.  From  "Kunst  und 
Kiinstler,"  Vol.  I,  No.  11,  August,  1903. 

(Courtesy  of  A.  E.  Gallatin,  Esq.) 

Volume  containing: 

Aubrey  Beardsley,  "The  Artist  of  Decadence."  By  W.  J. 
Randall.   From  "The  Metropolitan  Magazine,"  1901. 

Some  Personal  Recollections  of  Aubrey  Beardsley.  By 
Penrhyn  Stanlaws.   From  "The  Bookbuyer,"  October,  1898. 

Aubrey  Beardsley.  "A  Reconstruction."  By  Louise  Imogen 
Guiney.   From  "The  Catholic  World,"  May,  1899. 

Aubrey  Beardsley's  Strange  Art.  From  "The  Critic,"  May, 
1899. 

The  Memorial  of  Aubrey  Beardsley.  By  W.  S.  M.  From 
"The  Bookbuyer,"  June,  1899. 

Aubrey  Beardsley  Revivictus.  By  Christian  Brinton.  From 
"The  Critic,"  February,  1901. 

Note  on  the  Literary  Element  in  Beardsley's  Art.  By  A. 
E.  Gallatin.   From  "The  Critic,"  December,  1902. 

Aubrey  Beardsley  as  a  Designer  of  Book-plates.  By  A. 
E.  Gallatin.    From  "The  Reader,"  December,  1902. 

(Courtesy  of  Henry  C.  Quinby,  Esq.) 


31 


Aubrey  Beardsley's  Works 

Published  by  John  Lane 

THE  BODLEY  HEAD 
LONDON  NEW  YORK 

The  Early  Work  of  Aubrey  Beardsley.  Edited,  with  an  intro- 
duction, by  H.  C.  Marillier.  With  over  180  drawings  and 
designs.    4to.    $10,00  net.    Express  50  cents. 

The  Later  Work  of  Aubrey  Beardsley.  With  upwards  of  170 
drawings  and  designs,  including  11  in  photogravure,  3  in  color. 
4to.    $10.00  net.    Express  50  cents. 

Ben  Jonson :  his  Volpone  ;  or,  The  Foxe.  A  new  edition  with  a 
critical  essay  on  the  author  by  Vincent  O' Sullivan,  and  a  frontis- 
piece, 5  initial  letters,  and  a  cover  design  by  Aubrey  Beardsley. 
Together  with  a  eulogy  of  the  artist  by  Robert  Ross.  4to. 
$2.50  net.    Postage  25  cents. 

Under  the  Hill  and  Other  Essays  in  Prose  and  Verse,  includ= 
ing  his  Table  Talk.  With  numerous  illustrations  and  two  full- 
page  photogravure  plates.  Sq.  12mo.  $2.00  net.  Postage 
14  cents. 

The  Poems  of  Ernest  Dowson.  Illustrations  and  a  cover  de- 
sign by  Aubrey  Beardsley.  An  introductory  memoir  by 
Arthur  Symons  and  a  portrait.  12mo.  $1.50  net.  Postage 
10  cents. 

Ross,  Robert. 

Aubrey  Beardsley.  Illustrated.  Cloth.  $1.25  net.  Post- 
age 8  cents. 

Yellow  Book,  The.  An  illustrated  quarterly,  complete  in  13  vols. 
Sq.  12mo.  $15.00  net  per  set.  Expressage  $1.00  extra.  Single 
volumes,  $1.50  net.    Postage  15  cents. 

Salome.  A  tragedy  in  one  act.  Translated  from  the  French. 
16mo.    $1.00  net.    Postage  10  cents. 

Salome.  A  tragedy  in  one  act.  Translated  from  the  French, 
with  an  introduction  by  Robert  Ross,  and  16  full-page  illustra- 
tions by  Aubrey  Beardsley.  4to.  Hand-made  paper.  Illus- 
trations upon  Japanese  hand  vellum.  $3.50  net.  Postage 
20  cents. 

The  Sphinx.  Decorative  cover.  16mo.  $1.00  net.  Postage 
10  cents. 


